20 Must-Listen Japanese Tracks of the 2020s
You may have previously come across our A-side article, which showcases the major hits that dominated Japan’s music charts from 2020 to 2024, focusing on songs that have surpassed 100 million plays on YouTube or Spotify.
Or perhaps the B-side article, which features recommendations of chart-topping hits with over 10 million views, curated for those looking to explore widely celebrated tracks:
This time, I’ll be introducing songs that don’t quite fit into either of the previous categories—let’s call them “C-side” tracks. Specifically, these are songs with fewer than 10 million plays on YouTube and Spotify. While many of them are by major artists, these tracks haven’t made a big splash on the mainstream charts. Still, they’re personal favorites of mine—songs I find myself playing on repeat over and over again.
Without further ado, here are 20 “C-side” gems that completely knocked me out. I hope you enjoy discovering them as much as I enjoyed curating this list. The songs are presented in order of release, starting with the newest.
PAS TASTA – “B.B.M. ft. PinocchioP” Released: October 9, 2024
“B.B.M.” is likely a reference to “Best Buy Monkey,” a term mentioned in the song’s lyrics. The track humorously critiques a society obsessed with chasing only the hottest and trendiest items. At the same time, it reflects the harsh reality and cruelty of a world where selling is essential for survival.
One particularly intriguing aspect is that this song is performed by Hatsune Miku, a virtual singer with presumably no sense of material desire. The use of a non-human Vocaloid voice adds a unique layer to the song’s themes.
Brandy Senki – “Coming-of-age Story” Released: August 21, 2024
This track embodies the expressive power unique to rock music. It resonates with raw emotions—pent-up frustration, a sense of emptiness with nowhere to go, and the relentless cruelty of time marching forward. These feelings are conveyed directly through the sound, capturing the essence of what makes rock so compelling.
Rock often revolves around themes like rebellion and freedom, and this song boldly embraces that spirit. Its simplicity carries an intense energy, leaving a lasting impression every time you listen.
Kenshi Yonezu – “YELLOW GHOST” Released: August 21, 2024
The intro of this song carries a misty, dreamlike atmosphere. The lyrics, with their rhythmic flow and satisfying wordplay, feel pleasant as the song begins. Just as you’re immersed in this comfort, an unexpected twist unfolds. It’s as if you were walking through shallow waters in the morning mist, only to suddenly find yourself in the depths without realizing it. For some, the abruptness of this change might feel jarring, but I find the peculiar dissonance in this unique interlude utterly captivating.
At under three minutes, the song feels remarkably short, ending almost as quickly as it begins. Personally, it’s such an enjoyable track that I find myself wishing it were longer, just to savor its atmosphere a little more.
m-flo, Maya – “HyperNova” Released: July 31, 2024
From the very first listen, this track exudes the signature sophistication of m-flo, making it a must-hear for fans. The lyrics, penned by vocalist Maya herself, seamlessly blend Japanese and English, a testament to her natural phrasing and international perspective. This harmony reflects the sensibilities she developed while living in the United States, bringing a unique depth to the song.
Maya first gained attention through her acoustic performance videos on TikTok and went on to sing a new version of “Blue,” the iconic ending song from the anime Cowboy Bebop. This rendition was also featured in a Honda commercial. Her vocal ability is both powerful and delicate, capturing the emotions embedded in the lyrics with remarkable precision. “HyperNova” is a track that showcases her individuality and talent, leaving a profound impression on listeners.
Okamura Kazuyoshi – “Same to Ningyo” Released: April 17, 2024
Kazuyoshi Saito and Yasuyuki Okamura, both singer-songwriters who write and compose their own music, have been friends for years. Their collaboration began with a radio show segment where they created a song together, which led to the release of six tracks from 2024 to the present. Their creative process involves brainstorming ideas during studio sessions and shaping them into something concrete, which they then refine individually. This approach gives their songs a sense of spontaneity and raw energy.
“Same to Ningyo（The Shark and the Mermaid）” is a heartfelt ballad, with a particularly striking guitar solo in its final moments. Modern music often tends to “trim the fat” and cram as many catchy elements into a song as possible, which, while enhancing the immediate appeal, sometimes detracts from the ability to tell a story. In contrast, these two artists’ work reflects a sense of freedom—an unaffected embrace of the music they love, independent of fleeting trends.
OWC – “Watashi no Seikatsu” Released: February 28, 2024
OWC is a solo artist from Kagoshima and currently a university student. However, not much is known about her, making her a rather enigmatic figure. She once shared that, while she loved listening to music, she often found the lyrics didn’t quite sit right with her. This led her to start writing her own songs. Hearing this story reminded me of Kusano from Spitz, one of Japan’s most iconic bands, who once said something very similar on a radio show. As listeners, we’ve probably all experienced that feeling of enjoying a song but finding the lyrics don’t quite align with our own sensibilities.
“Watashi no Seikatsu（My Daily Life）” feels like a direct expression of her thoughts and emotions from daily life, unadorned and straightforward. The lyrics carry a sense of powerlessness and resignation, yet they’re not filled with despair or urgency. Instead, they depict the quiet continuation of “my daily life.” Paired with a light, city-pop-inspired tune, the song creates a curious dissonance—the contrast between its subdued message and breezy sound is truly intriguing.
Ohzora Kimishima – “16:28” Released: September 27, 2023
The lyrics of this song possess a multifaceted charm, free from the confines of a single interpretation. Just as you think you’ve grasped their meaning, another possible interpretation emerges, opening new possibilities. This ambiguity leaves room for the listener’s imagination, imbuing the song with a unique depth.
This sense of ambiguity—almost understanding but not quite—feels like gazing at a hazy twilight landscape from afar. This subtle distance resonates with the song’s overall beauty and fleeting nature, offering new discoveries with every listen.
CreepHyp – “I” Released: September 6, 2023
The title “I” is pronounced Ai in Japanese, which translates to “love.” It cleverly carries a dual meaning, representing both “I” (myself) and “love.”
“I” is a reimagined version of the 2020 collaboration track “Dose, Aida” (it must be love) with rapper Sorane. Through CreepHyp’s fresh interpretation, the song has been reborn, offering fans of the original version the excitement of experiencing its transformation infused with CreepHyp’s signature style.
The lyrics strike the listener with their seemingly overly direct expressions, yet they also convey a calm, observant perspective beneath the surface. This contrast defines CreepHyp’s unique style, gradually drawing you into their distinctive world as you listen.
MEZZ, Nakamura Minami – “ROYAL MILK TEA” Released: May 19, 2023
![20230513 MEZZ & なかむらみなみ@namcooooo - ROYAL MILK TEA [LIVE] @clubasia #short #mezz](https://ochazuke-times.com/wp-content/plugins/wp-youtube-lyte/lyteCache.php?origThumbUrl=https%3A%2F%2Fi.ytimg.com%2Fvi%2F9Wg2Jl7XLnw%2F0.jpg)
The first time I encountered ROYAL MILK TEA by MEZZ and Nakamura Minami was through a short video performance. My immediate reaction was, “This is so cool!”—a strong impression that still lingers today. The track’s charm lies in the perfect blend of their contrasting rap styles, which highlight their individual personalities while achieving seamless harmony. The rhythmic tempo is so captivating that it’s impossible not to feel energized, making you want to move along with the beat.
The interplay between their voices and lyrics is impeccable, giving the song an addictive quality that makes you want to play it on repeat. Rather than clashing, their unique styles complement each other beautifully, creating a fresh and compelling musical synergy.
Salyu × haruka nakamura – “Hoshi no Kuzu α” Released: January 13, 2023
When I think about the song I’ve listened to the most in recent years, Hoshi no Kuzu α （Stars α）immediately comes to mind. The melody and Salyu’s vocals, which I happened to hear one day, lingered in my mind, compelling me to play it on repeat countless times. This song was written as the ending theme for the TV anime TRIGUN STAMPEDE, and learning that was what inspired me to start watching the anime. I rarely find myself drawn to a work because of its music, which speaks to the exceptional charm of this song.
Additionally, the ending song for the anime’s final episode, “Seija no Kōshin” (Come The Light), was also created by Salyu × haruka nakamura, and it was equally stunning. I hope this collaboration continues to thrive and bring us more beautiful works in the future.
Kenshi Yonezu – “Hazukashi-kutte Shouga-ne” Released: November 23, 2022
This track by Kenshi Yonezu is the B-side to KICK BACK, the main theme song for the anime Chainsaw Man, which became a massive hit. Typically, B-side tracks don’t receive as much attention as the title track, but in Kenshi Yonezu’s case, his B-sides have a unique charm. Unlike the meticulously crafted title tracks designed for wide appeal, his B-sides feel more raw and reveal the artist’s true essence.
For example, Cranberry to Pancake, the B-side to Lemon, also stood out as a song that showcased his individuality. Similarly, this latest B-side encapsulates Kenshi Yonezu’s pure charm as a singer-songwriter, making it a truly special piece. The freedom and unfiltered expression that come through in his B-sides might be what enhances the appeal of his music even further.
Shintaro Sakamoto – “Like A Fable” Released: June 3, 2022
This track is the title song from Shintaro Sakamoto’s fourth solo full-length album, following the disbandment of Yura Yura Teikoku in 2010, where he served as the frontman. As someone who has followed his music since his band days, this was my most anticipated release of 2022. It didn’t disappoint—every track is captivating, but this song, in particular, stands out with its unique lyrics and unforgettable tones.
In recent years, advancements in technology have allowed for increasingly layered and complex sounds in music. However, Sakamoto’s style remains minimalist, stripping away unnecessary elements. True to his intention of creating music that provides a sense of relief in a stifling era, the album radiates a gentle warmth. While high-energy, adrenaline-pumping music has its appeal, this track offers a soothing comfort that feels like it’s warming you from within.
Tokyo Jihen – “backstage – new translation” Released: April 30, 2022
This track is a newly re-recorded version of backstage, originally featured on Tokyo Jihen’s third album, Variety, released in 2007. The original version was characterized by distorted guitars and intense drumming, showcasing the powerful sound of a rock band. However, the new interpretation takes on a gentler arrangement, making it feel like an entirely different song.
What’s fascinating is how the same lyrics can evoke completely different impressions just by changing the sound. In the original, the sharpness and urgency were emphasized, whereas the new interpretation exudes softness and lingering resonance, evoking entirely different emotions in the listener. This transformation highlights how music can offer fresh perspectives on the same work, making it an especially intriguing piece.
UA – “Binetsu” Released: March 16, 2022
The song Bi-netsu (Slight Fever) was written and composed by Mahito the People, the frontman of GEZAN. It quickly gained popularity among fans and sparked discussions as an homage to UA’s biggest hit, Jou-netsu (Passion). In fact, the song’s finale directly quotes a phrase from Jounetsu, both in melody and lyrics, creating a strong sense of connection between the two. Even the title of the EP it’s featured on, Are U Romantic?, seems to intentionally echo Jou-netsu.
In Japan, heartbreak songs often resonate widely, with many works using direct expressions of emotion and specific details to convey sorrow over lost love. While this straightforwardness can evoke empathy, I find myself drawn to more poetic expressions that leave room for subtlety and reflection. Binetsu captures the theme of heartbreak with lyrical richness, delivering its message clearly yet poetically. This balance makes the song deeply compelling.
Hiroji Miyamoto – “SEPTEMBER” Released: July 14, 2021
SEPTEMBER was originally released in 1979 as Mariya Takeuchi’s third single. This cover version by Hiroji Miyamoto is featured on the tribute album Kazemachi ni Tsuretette! (Take Me to Kazemachi!), created to celebrate the 50th anniversary of Takashi Matsumoto’s career as a lyricist. The album is filled with timeless classics. While YOASOBI’s Ikuta Lilas also delivered a wonderful rendition of Seiko Matsuda’s iconic SWEET MEMORIES, this time I’ve chosen to focus on SEPTEMBER.
The charm of the original song is undeniable, but Miyamoto’s cover adds a unique flavor. Known for his powerful and rugged vocal style, Miyamoto reveals a new side of himself by covering a song originally performed by a female artist. In SEPTEMBER, his distinctive emotional expression and dynamic vocal range create a fascinating chemistry with the song.
Interestingly, in 2020, Miyamoto released ROMANCE, a cover album featuring songs originally sung by female artists. The limited-edition bonus CD of that album included a demo version of SEPTEMBER, offering fans an early glimpse into his interpretation of the track.
No Buses – “Yellow Card” Released: June 23, 2021
Their music immediately stands out with its unique charm, effortlessly conveyed the moment you hear it. Some bands intentionally craft their image or sound to sell, which is a valid survival strategy in the industry. However, No Buses doesn’t give off that calculated vibe. Their essence lies in the feeling of “just making music the way they want,” resulting in a natural, unpolished authenticity.
Their laid-back attitude is even more apparent in live performances. They don’t hype up the audience or rely on flashy theatrics, instead playing at their own pace with a calm demeanor. And yet, there’s an inexplicable magnetic pull that keeps you captivated.
4s4ki – “FAIRYTALE feat. Zheani” Released: April 14, 2021
I first discovered 4s4ki (Asaki) through a YouTube live stream by manga artist Inio Asano. He mentioned her as “an artist I’ve been interested in recently,” which piqued my curiosity. 4s4ki isn’t just innovative in music; her creativity extends to visuals, fashion, and overall artistic direction. She’s a striking example of a new-era artist, leaving a profound impression.
This collaboration with Zheani, a wildly unconventional artist from Australia, revolves around the theme of a “demon lord who failed to reincarnate.” It’s a peculiar world, teetering between tragedy and comedy, but the track is undeniably poppy, catchy, and skillfully written, making it a pleasure to listen to. With its refreshing originality, it’s the kind of song you can’t escape once you’re hooked.
Shintaro Sakamoto – “The Feeling Of Love” Released: November 11, 2020
I’m not the type of person who often finds solace in song lyrics. However, the relaxed melody of this track, paired perfectly with its lyrics, carries a unique kind of persuasiveness. Listening to it feels like my HP gets a little boost.
The way we interpret song lyrics often changes depending on our mood or circumstances. Sometimes, lyrics can feel like salt being rubbed into a wound. But this song is different—it’s a special track that always leaves me feeling a bit more uplifted, no matter when I listen to it. For me, it’s like a piece of musical herbal medicine, soothing and revitalizing.
GING NANG BOYZ – “Koi wa Eien feat. YUKI” (Love is Eternal) Released: October 21, 2020
After the breakup of GOING STEADY in 2003, Kazunobu Mineta launched GING NANG BOYZ. This track reunites him with YUKI, following their unexpected collaboration on Kakenukete Seishun (Racing Through Youth), a song featured on their 2005 album. For fans, this reunion brings an overwhelming sense of nostalgia and excitement.
Originally released in 2017, Koi wa Eien was already a popular song. However, it was reimagined for the 2020 album Nee Minna Daisuki da yo (Hey Everyone, I Love You All) through a collaboration with YUKI. Her presence adds a layer of melancholy to the track, enhancing the distinctive charm of GING NANG BOYZ and giving the song a fresh, emotional depth.
DJ Hazime, DJ Watarai – “Do It feat. ¥ellow Bucks & Zeebra” Released: April 22, 2020
What makes this track so compelling? For me, it’s the undeniable sense of encouragement it delivers. It feels like the song is urging you, “Just do it,” giving you a push forward. It’s as if it’s telling you to stop wasting time overthinking and take action instead. This simple and straightforward message shakes the listener’s heart and naturally inspires action.
As I listen, I feel my doubts and anxieties ease a bit, and I gain a little more confidence. This positive effect that music can bring is incredibly valuable. The lack of complex words or excessive embellishments makes the message resonate even more directly. That, I believe, is the greatest charm of this track.
Reflecting on My Personal Favorite Tracks from 2020–2024
While choosing songs under the “hit track” theme was an interesting exercise, this time, I decided to write an article introducing songs that I purely love, regardless of play counts or general popularity. Through this process, I feel like I had the chance to reexamine my own musical preferences. That said, there were so many songs to choose from that I honestly don’t think these 20 tracks are my “absolute best.” Picking favorite songs is such a challenging task!
What I found particularly intriguing was how some songs I listened to a lot back then now make me wonder, “Why was I so into this?” It’s a reminder that my environment and mindset are constantly evolving. On the flip side, I’ve also discovered tracks that didn’t resonate with me before but now strike a deep chord.
By the way, I’ve created a Spotify playlist featuring all the songs I introduced in this article. Feel free to check it out if you’re interested!
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